Journalism Plus? The resurgence of creative documentary

Over the past two decades, opportunities for ‘creative documentary’ on television may have diminished, but other distribution options for innovative and engaged films have opened up. A resurgence of cinematic documentary is attracting substantial numbers of viewers who, bored or disillusioned by te...

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Autor principal:	Annie Goldson
Formato:	article
Lenguaje:	EN
Publicado:	Asia Pacific Network 2015
Materias:	documentary human rights journalism New Zealand politics post-documentary Communication. Mass media P87-96 Journalism. The periodical press, etc. PN4699-5650
Acceso en línea:	https://doaj.org/article/b550d7da057340d2804ebf2ccfef6dc1
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id	oai:doaj.org-article:b550d7da057340d2804ebf2ccfef6dc1
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spelling	oai:doaj.org-article:b550d7da057340d2804ebf2ccfef6dc12021-12-02T08:06:13ZJournalism Plus? The resurgence of creative documentary10.24135/pjr.v21i2.1201023-94992324-2035https://doaj.org/article/b550d7da057340d2804ebf2ccfef6dc12015-10-01T00:00:00Zhttps://ojs.aut.ac.nz/pacific-journalism-review/article/view/120https://doaj.org/toc/1023-9499https://doaj.org/toc/2324-2035 Over the past two decades, opportunities for ‘creative documentary’ on television may have diminished, but other distribution options for innovative and engaged films have opened up. A resurgence of cinematic documentary is attracting substantial numbers of viewers who, bored or disillusioned by television’s shift to reality programming, are prepared to pay for theatre tickets, while online subscription services such as Netflix and Amazon now stream and fund high-quality documentary. Increasing numbers of filmmakers are self-distributing their works online. A significant percentage of these films, freed from the constraints of broadcast television, take up political challenges because, as Michael Chanan says, documentary has ‘politics in its genes’ (2008, p. 16). In fact, as mainstream news and current affairs becomes increasingly tabloid, it could be argued that documentary is assuming the role of investigative journalism or, to use Laura Poitras’ description, documentary functions as ‘Journalism Plus’. This article, at times drawing on my own film practice, attempts to explore these shifts and developments, locating documentary at a time of institutional transformation. Image: He Toki Huna: SAS Quick Reaction Force in Kabul post a suicide bombing in February 2010. Photo by Lionel de Coninck Annie GoldsonAsia Pacific Networkarticledocumentaryhuman rightsjournalismNew Zealandpoliticspost-documentaryCommunication. Mass mediaP87-96Journalism. The periodical press, etc.PN4699-5650ENPacific Journalism Review, Vol 21, Iss 2 (2015)
institution	DOAJ
collection	DOAJ
language	EN
topic	documentary human rights journalism New Zealand politics post-documentary Communication. Mass media P87-96 Journalism. The periodical press, etc. PN4699-5650
spellingShingle	documentary human rights journalism New Zealand politics post-documentary Communication. Mass media P87-96 Journalism. The periodical press, etc. PN4699-5650 Annie Goldson Journalism Plus? The resurgence of creative documentary
description	Over the past two decades, opportunities for ‘creative documentary’ on television may have diminished, but other distribution options for innovative and engaged films have opened up. A resurgence of cinematic documentary is attracting substantial numbers of viewers who, bored or disillusioned by television’s shift to reality programming, are prepared to pay for theatre tickets, while online subscription services such as Netflix and Amazon now stream and fund high-quality documentary. Increasing numbers of filmmakers are self-distributing their works online. A significant percentage of these films, freed from the constraints of broadcast television, take up political challenges because, as Michael Chanan says, documentary has ‘politics in its genes’ (2008, p. 16). In fact, as mainstream news and current affairs becomes increasingly tabloid, it could be argued that documentary is assuming the role of investigative journalism or, to use Laura Poitras’ description, documentary functions as ‘Journalism Plus’. This article, at times drawing on my own film practice, attempts to explore these shifts and developments, locating documentary at a time of institutional transformation. Image: He Toki Huna: SAS Quick Reaction Force in Kabul post a suicide bombing in February 2010. Photo by Lionel de Coninck
format	article
author	Annie Goldson
author_facet	Annie Goldson
author_sort	Annie Goldson
title	Journalism Plus? The resurgence of creative documentary
title_short	Journalism Plus? The resurgence of creative documentary
title_full	Journalism Plus? The resurgence of creative documentary
title_fullStr	Journalism Plus? The resurgence of creative documentary
title_full_unstemmed	Journalism Plus? The resurgence of creative documentary
title_sort	journalism plus? the resurgence of creative documentary
publisher	Asia Pacific Network
publishDate	2015
url	https://doaj.org/article/b550d7da057340d2804ebf2ccfef6dc1
work_keys_str_mv	AT anniegoldson journalismplustheresurgenceofcreativedocumentary
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Journalism Plus? The resurgence of creative documentary

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